AMERICAN ^ASSOCIATION OF MUSEUMS COPY Accreditation Commission

September 14, 1999

Mr. Phillip M. Johnston Director Museum of Art, Rhode Island School of Design 224 Benefit Street Providence, RI 02903-2723

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Dear Mr. Johnston:

At its July 12-13, 1999 meeting the Accreditation Commission voted to continue accreditation for the Rhode Island School of Design's Museum of Art pending receipt of confirmation thai RISD's and the museum's planning documents had been finalized and approved. The Accreditation Office has received the requested documentation and I am, therefore, very pleased to inform you that the Accreditation Commission of the American Association of Museums hereby continues the accredited status of the Museum of Art at the Rhode Island School of Design in Providence

Museum accreditation certifies that you* institution has successfully undergo*'*: try? rigorous, professional examination established by the American Association of Museums through the completion of the detailed self-study and the review of the museum's operations by a Visiting Committee of the AAM Accreditation Commission. For your review and tiles, die Visiting Committee's narrative report is enclosed. Also enclosed, please find an Accreditation Public Relations kit, which contains materials to use in promoting your museum's accredited statu*. This includes two certificates of accreditation for the RISD Museum of Art to proudly display.

The achievement of accreditation is recognition of a museum's commitment to excellence and high professional standards of operation. To ensure that museums continue their efforts to maintain and strengthen their level of professional performance, a museum's subsequent accreditation is reviewed within ten years. Therefore, the Accreditation Office will initiate your museum's next accreditation review in the year 2007, to be completed by the year 2009.

The Commission will pay special attention to each accredited museum's distinctive educational role at the time of its next accreditation review. Because standards and best practices in this area are evolving and the expectations of the Commission are tied to the generally understood standards of practice in the museum field, attention will be given to each museum's ability to sustain the intellectual rigor and focus of its enterprise while respecting the varied perspectives that are present in the communities it serves.

To maximize the museum's accredited status over the next several years and to maintain the momentum of the review experience, you are encouraged to make active use of the museum's

continued

1575 EYE STREET NW, SUITE 400 WASHINGTON, DC 20005 202.289.1818 FAX 202.289.6578

Mr. Phillip M. Johnston September 14,1999 Page 2

accreditation documents as points of reference for future planning. The self-study, narrative report and accreditation correspondence are valuable tools and provide a useful framework for establishing institutional goals and planning institutional development. By using your accreditation documents and keeping apprised of program literature, your institution will maintain an understanding of accreditation—as a process and an achievement—that can inform and facilitate some of the difficult decisions that confront museums and museum professionals.

Between now and the museum's next review, you, the staff, and your governing authority are also encouraged to consult "Museum Accreditation: Criteria and Characteristics" which has been enclosed and is updated periodically to reflect the program's current eligibility criteria and the expectations of all accredited museums as they relate to evolving standards and practices in the museum profession. The Accreditation newsletter, A ccreditation Update, and the AAM's Website (www.aam-us.org) are also resources to keep you up-to-date on the latest program news and Commission expectations.

By accepting the accreditation award, your institution hereby consents to and abides by the decisions of the Accreditation Commission of the American Association of Museums regarding continuing review, subsequent accreditation or withdrawal of accreditation. The Museum of Art is also hereby agreeing to comply with the administrative requirements of the program with the understanding that the accreditation certificate may be retained and displayed as long as the institution meets the program requirements for maintaining accreditation as determined by the Accreditation Commission.

Thank you for your patience during the process and for your support of the Accreditation Program. Staff in the Accreditation Office can be reached at (202) 289-9116 or by e-mail at accreditation@aam-us.org should you have any questions about the Accreditation Program and maintaining your institution's accredited status. You have worked hard to earn this honor. Congratulations!

Sincerely yours,

lomas Livesay, Cr Accreditation Comrnrs'sion

cc: Milton Bloch, Visiting Committee Chair Jessie Otto Hite, Visiting Committee Member Roger Mandle, President, RISD William Watkins, Chairman of the Board of Trustees, RISD

Accreditation Review Information

Museum of Art Rhode Island School of Design

Providence, Rl

Mr. Phillip Johnston Director

Mr. William Watkins Director's Phone: (401) 454-6501 Administration FAX: (401) 454-6556

Chair, Board of Trustees, RISD (also Roger Mandel, President, RISD)

Visit Date: 3/14/99

Report Received:

Chair Milton J. Bloch

President

Munson-Williams-Proctor Institute Museum of Art

Utica NY

Member Jesse Otto Hite

Director

Jack S. Blanton Museum of Art

Austin TX

American Association of Museums

Rhode Island School of Design Museum of Art

Providence, Rhode Island

A Report to the Accreditation Commission by the Accreditation Visiting Committee

Submitted by Milton J. Bloch and Jesse Otto Hite

INTRODUCTION

The Rhode Island School of Design Museum of Art is located in Providence, Rhode

Island, and is part of the campus of Rhode Island School of Design. The Museum

occupies a four-building complex situated in the College Hill district. Founded in 1877,

the original charter called for a school of art and a museum of art as two equal divisions

within the educational system of Rhode Island School of Design (hereafter "RISD").

RISD Museum of Art received its first AAM accreditation in 1983.

The Committee arrived in Providence on Sunday, March 14,1999, had dinner with

Phillip Johnson, Director of the Museum (hereafter "Director"), and spent the entire next

day as well as Tuesday morning with the Director, staff and trustees. During the course

of the accreditation visit, the Committee had ample opportunity to talk with key

personnel and examine the physical facilities. All participants answered our questions

with candor and were helpful in assessing various areas of the museum.

We found that the RISD Museum of Art is a well-grounded museum operation with

superb collections, high standards and good facilities. Its main problem at the present

time is the need for more space in nearly all areas. Overall, we believe that the RISD

Museum of Art continues to succeed quite admirably in meeting the criteria necessary

to maintain full accreditation.

ADMINISTRATION AND GOVERNANCE

RISD's Board of Trustees governs both the School and the Museum of Art. The Board,

in turn, appoints a Museum Committee, a standing committee of the Board of Trustees,

which serves as an oversight committee for the Museum of Art. The Museum

Committee is assisted by two subcommittees, a Fine Arts Committee which considers

loans, acquisitions and deaccessions, and an Education & Exhibitions Committee which

reviews programs. The Museum Committee comprises the chair and vice chair of the

Board, the director of RISD, three community members, two ex officio members, and

seven trustees. It plays a direct role in overseeing policies, programs and other affairs

of the Museum, including recommendations for budgeting, fundraising, collections, and

exhibitions. The Museum Committee, which meets five times a year, has an executive

committee which conducts business between principal Board meetings. The Museum

has formally adopted an institutional code of ethics and has delegated in writing

responsibility and authority for the day-to-day operation of the museum to the director.

The Museum Director reports directly to RISD's president and is a member of his senior

staff. He serves on the college counsel with the provost, deans and administrative vice

presidents, serves as liaison for the Museum Committee to the Board, and participates

in full Board meetings and all sessions of executive, institutional, advancement, and

educational policy committees. In our meeting with Jane Carroll, Chairman of the

Museum Committee, and Bud Greenwald, Committee Member, we determined that the

Committee has a clear understanding of the Museum's mission and its role in

governance and policy as opposed to direct involvement with administrative matters.

The Museum Committee and the Board of Trustees are enthusiastic supporters of the

Museum, its staff and its Director. They are realistic about the organization's strengths

and weaknesses and credit the Director with effectiveness, tact and knowledge of the

profession.

AFFILIATED ORGANIZATIONS

The Museum Associates were organized in 1954 to support the Museum and increase

public interest, and to assist the growth of collections and increase public use of

facilities. The Associates has its own bylaws, officers and membership. It helps

organize special staff events and fundraising projects, hosts receptions and provides

funding and flowers for special projects.

The Museum's docent group was formally organized in the 1950s with an active Board,

elected officers and a president who serves on the Museum Committee. The Docents

are volunteers who assist the Education Department, lead tours and interpret the

collections. The relationship between the Museum and affiliated organizations is well

defined and clearly in support of the Museum's mission. Respective roles are well

understood by each of the parties.

STAFF

The RISD Museum has the following full-time positions: director; assistant director;

assistant to the director; nine curators, a financial manager; manager of safety, security

and facilities operation; coordinator of visitor services; coordinator of special events;

coordinator of publications; manager of the museum shop, and the manager of

installation and preparation for a total of 35 individuals. In addition there are

approximately 25 guards. We found the staff to be a well-qualified, dedicated and hard-

working group who are enthusiastic about the role of the museum. As with most

museum staff, they felt somewhat overworked and if funds were available variously

identified a housekeeper, preparator, administrative assistant, operations manager and

some assistance in membership development and marketing as possible staff additions.

VOLUNTEERS AND MEMBERSHIP

Approximately 250 volunteers contribute about 13,000 hours of museum service in a

wide range of support roles. Volunteers support the security, administration,

development, and curatorial areas. Each department recruits and coordinates its

volunteers who appear to have well-defined roles and understand the organization's

mission. The most intensive application of volunteer personnel is in the docent program

where there is an extensive recruitment and training program. Docents are informed of

the Museum's long range plans and related issues, have periodic evaluations, and are

well informed of their responsibilities.

The Museum has approximately 2,500 members in typical categories such as

individuals, families, corporations, etc. The purpose of museum membership as stated

is "...to build a committed audience who will serve as informal ambassadors in the

community based on their enthusiasm for the museum and its programs, support the

museum as volunteers, and contribute financial support to the institution." Each

membership level is attended by appropriate benefits such as receptions, preview

openings, travel tours, and other special events. High level memberships are offered in

the $300 - $5,000 range with total membership income exceeding $300,000.

PLANNING

The Rhode Island School of Design began a process of planning and assessment in

1996. The Museum also participated in a 1995/96 campus master plan process in

which capital needs were identified and projects proposed to the capital budget

committee. Many of these projects have since been completed, including a new wing,

renovations to the European gallery, five storage areas, and the collections

management department. There have also been computer upgrades and

improvements to HVAC and the fire detection systems. Annual operating budgets

appear to be adequately funded.

FINANCE

The current budget for the RISD Museum sets both revenues and expenses

$3,569,000. Of this, a little over $1,900,000 is institutional support provided by the

parent organization. An additional $760,000 comes from gifts, grants and endowment

funds. There is an additional $455,000 in contributed income with the remaining

$331,000 attributed to earned incomes such as admission ($175,000), exhibition fees

($60,000), photo and royalty revenue ($27,500) class tuition ($20,600) as the major line

items. The major expense categories are salaries, wages & benefits ($2,460,000),

business services ($625,000), and personal services ($237,000). For 1999 there is also

$700,000 available from the various funds restricted for purchases-of works of art.

It should be noted that in addition to the specific line items in each annual operating

budget the Museum is the beneficiary of a number of valuable "hidden" in-kind services.

For example, the Museum is not directly charged for its share of utilities, publications

design work, interior and exterior maintenance, membership and development

assistance, annual audits, or workers' compensation. Therefore the budgeted cost of

the operation is supplemented by the School by perhaps as much as $1 million.

Presently, 35% of RISD's unrestricted endowment income is specifically designated for

the museum operation (providing about half of the museum's income overall). About

$700,000 comes from the restricted endowment of which $370,000 is earmarked for

acquisitions. Although there have been some cutbacks and small operating deficits in

the past, RISD has established a "rainy day" contingency fund to cover any future

shortfalls. At the present time annual funding appears to be adequate to support and

accomplish the mission of the RISD Museum. The Museum has a current internal

revenue service tax-exempt determination. It produces annual operating budgets

approved by its governing authority, receives monthly financial reports, annual audited

financial statements (PricewaterhouseCoopers), and an "annual compilation of

activities, information and statistics," all of which seem to be in good order.

PHYSICAL FACILITIES

The RISD Museum of Art comprises four connected buildings ranging from two to six

stories totaling 104,000 square feet of exhibition storage, offices and all related museum

services. The Pendleton House (10,485 sq. ft.) is the earliest structure which displays a

major collection of decorative arts and is the country's first "American wing." The

Radeke Building (43,083 sq. ft.) was built in 1926 and features a comprehensive survey

of the history of art ranged throughout 24 galleries. The Daphne Farago Wing (9,938

sq. ft.) was opened in 1993 and features two levels of galleries devoted to contemporary

art. The Waterman Building (7,854 sq. ft.) provides temporary exhibition space.

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Amongst these buildings the circulation pattern is somewhat confusing, but the buildings

have enormous charm and the signage is excellent. They are well maintained, freshly

painted and secure. There is approximately 5,400 sq. ft. of administration space (8%),

26,000 sq. ft. for exhibitions (36%), collections storage 16,400 sq. ft. (23%) with

circulation / mechanical workshops and other spaces making up the balance. The

buildings are handicapped accessible in nearly all respects except for the connection

between two buildings now in progress. Nearly all of the storage areas have been

renovated to make them as efficient as possible and feature excellent temperature,

humidity and security devices. All systems are carefully monitored and well suited for

the respective usage in each area. Space remains the big problem. It is hoped that a

new school-wide capital campaign (now in the planning stage) will yield about

$3,500,000 for the Museum to add space for its library, glass & ceramics storage,

exhibition and other areas, and provide endowment funds for programs.

SECURITY

An excellent security system is in place throughout the four buildings. The Museum has

a large cadre of well trained guards and the security department trains all museum staff

in the handling of fire extinguishers and security & safety procedures. The Museum has

a central control post which monitors all entrances, loading docks and galleries via

closed-circuit television, as well as fire, security and climate-control conditions in the

Museum buildings. The appropriate staff receives CPR training who are identified as

first responders (including a licensed EMT) and has ambulance service available for

emergencies. Smoke and heat detectors are located throughout each floor of the

Museum buildings and are inspected annually. Fire drills are conducted for the staff

and the Museum has an emergency preparedness plan and evacuation procedures.

The Museum has a state-of-the-art fire detection system with smoke and heat detectors,

in all public and non-public spaces. It has a "dry system" of on / off, low-control

sprinkler heads in the storage areas which are monitored and regularly inspected.

Intrusion prevention is handled with motion detectors, door & window alarms, and object

& case alarms connected to the central control. Museum staff are required to wear

photo identification cards at all times and secured areas are to be accessed only with

proximity readers or special keys which remain in the building at all times. The Museum

has the proper insurance coverage, and excellent disaster & evacuation plans as well.

COLLECTIONS MANAGEMENT & CARE

The RISD Museum's permanent collection contains approximately 85,000 objects,

including a wide range of artists, schools, periods and cultures. Curatorial areas include

antiquities, Asian art, costumes and textiles, decorative arts, painting and sculpture, and

prints, drawings and photographs. In the 1983 accreditation report, Alan Shestak said:

"The collections of the Museum offer a consistently high level of quality and provide an

encyclopedic coverage of the history of world art. The great strengths of the collection

lie in decorative arts, textiles and costumes, American paintings, ancient art, medieval

art, old master paintings, prints and drawings, Oriental art and the art of the 20th

century. There are acknowledged masterpieces and these are displayed effectively...".

Later in the report he says that there are superb examples to be found among the

textile, Greek and Roman, medieval, Baroque and American collections as well as in

the African, Oceanic and pre-Columbian holdings. Adding that "the collection, in short,

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is spectacular." The Visiting Committee feels that this assessment is as accurate today

as when first written and, in fact, is difficult to improve upon. The goals for the use of

the collections are well defined. The Museum's long range planning goal for the

permanent collection calls for acquisitions in all areas but places special emphasis on

acquiring works of particular interest to African-American and Hispanic audiences.

Collecting activities are designed to meet the needs of many constituencies. The use of

the collections is especially well integrated to the mission of the museum, specifically to

serve the academic community and general public including artists, designers, design

students, art educators, and various other constituencies. The collection is properly

catalogued and inventoried and entered onto a computerized data program (Advanced

ARGUS for Windows) database. Deaccessioning takes place in a well prescribed and

acceptable manner involving only items that are of no further value to the collection.

The Museum has a conservator and a conservation technician who work closely with

the curators on conservation and preservation projects. Museum-wide conservation

surveys have been conducted and long range and plans include long-range and short-

range recommendations. Several of these surveys have also been conducted by

outside conservators for Chinese paintings, European and American wallpaper

collections, prints and drawings, paintings and watercolors, portrait miniatures,

European furniture and Greek vases. The Museum has certain objects treated by

outside experts from the Williamstown Art Conservation Center and relies on the

expertise of other museums and organizations. Art storage rooms are well-outfitted with

proper lighting, humidity and temperature controls, vermin suppression, UV screening

and fire control. Storage and exhibition space, however, are at a premium. A recent

master plan coordinated by an architectural firm suggested that the exhibition space

should be doubled, adding some 26,000 sq. ft. There was also a need identified for

8,200 sq. ft. of programming space, 11,000 sq. ft. of office space, 8,000 sq. ft. for art

storage, plus additional space for the Museum shop, an improved main entrance and

enhanced parking facilities. These improvements will have to wait for a more specific

determination of where such functions would be located and, of course, funding through

a capital campaign. Overall, collection management, policies, orchestration, and

handling are fully consistent with the standards of the museum profession.

RESEARCH

The RISD Museum encourages and supports basic research and publishing on the

permanent collection including sabbaticals for the professional development of the staff.

It also supports a variety of research projects for the community involving opening

collection storage areas for faculty, visiting scholars, and individuals and students.

Program research supports exhibitions, collection and publications including the

permanent collection and rotating exhibitions. Internships and work study programs are

offered to involve students in research projects including curatorial work in the prints,

drawings, photographs, and painting and sculpture collections. The library at the Rhode

Island School of Design serves the school and the museum as well. A museum curator

serves on the library committee. The library's collection of over 88,000 volumes

focusing on art, architecture and design including a picture collection of 425,000 items

and 135,000 slides as well as posters, sound and video recordings and CDs. Museum

curators and educators contribute suggestions for new acquisitions and the museum

staff has access to other libraries through the consortium of Rhode Island Academic

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and Research Libraries. In addition, the Museum has a collection of archival materials

and historic documents dating back to the founding of the college. The research

program and supporting library functions are certainly adequate to support the

Museum's mission.

EXHIBITIONS

A wide panorama of permanent and temporary exhibition installations support the RISD

Museum's mission of providing a broad survey of worldwide art to students, faculty and

the general public. Eight galleries are devoted to temporary exhibitions which number

about 20 per year and cover a wide range of subject area. There is a long range plan

for establishing strategies for the exhibition program which includes both permanent and

changing exhibitions. An excellent planning process for developing new exhibitions

involves administrators, curators, educators, and staff with additional input from the

faculty, students, community advisory groups and the Museum Committee. The

Museum also completed a comprehensive audience survey study and has a coordinator

of community affairs ..."to foster greater involvement in exhibition and programming

planning by traditionally underserved segments of the community." There is also an

appropriate evaluation process involving a special Museum access committee, visitor

surveys, an exhibition comments book, and community advisory groups.

PUBLIC PROGRAMS

The Museum has an active series of programs, lectures and tours which provides high

quality programs for children and adults throughout the community. The program

focuses on lectures, symposia, workshops, art classes, and other experiences for

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artists, designers, students, art educators and the general public. Its strategies include

clearly defined objectives for making the connection between art and contemporary life,

relying on disciplines from both the arts and humanities, reflecting the creativity

associated with artistic endeavor, representing reverse constituencies and involving

RISD students and staff in creative ways. Included are many programs for teachers

and school children, for families and their children, and for adults. These programs

have extensive range and excellent quality, making connections with many other

organizations including the Rhode Island School for the Deaf, the Hispanic Center for

Policy and Advocacy, the Portuguese Cultural Foundation, and many others.

Evaluation procedures for assessing the stated outcomes and goals are used as well.

PUBLICATIONS

The Museum's primary goal is to document and interpret its exhibitions for its visiting

public through exhibition catalogs, collections catalogs, scholarly journals, and

associated handouts, articles, descriptions, labels, videos, etc. This program is

vigorous and effective in fulfilling the Museum's mission by providing high quality

scholarly publications, collections catalogs, brochures and informational pamphlets.

The Education Department produces numerous and informative publications for

teachers, families, young children, older students, adults and special audiences. There

is a long range plan for improving the publications effort with involvement of curatorial

staff, faculty, and the Education Department.

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CONCLUSION

In 1983 the Visiting Committee noted four areas requiring attention: conservation;

improvements needed in the storage areas; upgrading of the registrar's files; and the

need for additional fundraising to insure the budgets for care of the collections and

programs. These areas have been vigorously addressed and largely corrected in the

interim. Other committee concerns involved the "hectic pace" at which the Museum

operates, the need for reinstalling some of the exhibition areas, inadequate space in

storage and other support areas, limited physical facilities for programs, and the

possibility of intruders hiding within the complex at closing time. These areas, too, have

been addressed and corrected with two exceptions. The continuing pace of exhibitions

remains fairly hectic although there seems to be adequate staff to cover all of these

activities. Storage and support facilities (work spaces, offices, etc.) remain in short

supply but, as stated earlier, are part of the active consideration in the new long range

plans and capital fund financing.

During its visit our Committee found a strong museum operation. The Director provides

excellent leadership and the staff is highly competent at performing its duties. Together

with the support of the RISD Board and Museum Committee, the Museum has

aggressively and effectively embraced and addressed its problems in a straightforward

and efficient manner. It has corrected every problem within its reach and created plans

(for programs, expansions and collections) to insure a viable and vigorous future. With

its superb collection, professional staff, lofty goals and thoughtful planning, we believe

that the Rhode Island School of Design Museum of Art admirably meets the standards

necessary for AAM accreditation.

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